By Julián Jiménez Heffernan
ISBN-10: 1137523581
ISBN-13: 9781137523587
ISBN-10: 1349572330
ISBN-13: 9781349572335
Shakespeare's Extremes is a debatable intervention in present severe debates at the prestige of the human in Shakespeare's paintings. by way of targeting 3 flagrant circumstances of human exorbitance - Edgar, Caliban and Julius Caesar - this publication seeks to limn out the area of the human right in Shakespeare.
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Additional info for Shakespeare’s Extremes: Wild Man, Monster, Beast
Example text
In his Theory of the Subjectt (1982), Badiou put forward the polemic thesis that History doesn’t exist, and he has recently returned to it: ‘There are only disparate presents whose radiance is measured by their power to unfold a past worthy of them’ ((Logics, 509). I believe that the Shakespeare textual corpus is one such disparate present, and that its radiance has the capacity to simultaneously unfold its pasts (re-invent its precursors) and subjectivate future bodies. Devotees of pre-humanist (animal) and post-humanist (cyborg) Shakespeares seem oblivious to the fact that by positing morphological anteriority and posteriority they unwittingly endorse one of the most deplored vices of the so-called ‘liberal-humanist’ mindset, that of Hegelian historical teleology.
Therefore, it is pointless to measure the ‘extent to which Shakespeare was able to conceive of his art as free to live by its own laws and … the extent to which Shakespeare fashioned individuality by departing from his culture’s cherished norms’ (Greenblatt, Shakespeare’s Freedom 15). First, because, pace Bourdieu, the laws of art are nott the laws of the polity; and second, because it is from Shakespeare’s prodigious assimilation of his culture’s cherished norms that the radical departures of his authority emerge.
It is pointless, then, to spend the time shuffling and recombining the cards (human–animal, mind–body, reason–passion) only to see if something—some new thing—happens. What routinely happens, in this sportive relocation of the terms furnished by the dialectic, is the banal ‘humanization’ of the recovered term: what we get are humanized bodies, humanized passions, humanized animals, humanized impersonals and humanized post-humans. The destination of the rejected teleological drive (the human) is never really relinquished, but furtively smuggled back into the semantics of the negative term in an as yet dialectical game of overlapping retro-definitions.